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Music for the Christmas Season by Buxtehude and Friends Musicmusic for for the the Christmas Christmas Season Byby Buxtehude Buxtehude and and Friends Friends
Music for the Christmas season by Buxtehude and friends MusicMusic for for the the Christmas Christmas season byby Buxtehude Buxtehude and and friends friends Else Torp, soprano ET Kate Browton, soprano KB Kristin Mulders, mezzo-soprano KM Mark Chambers, countertenor MC Johan Linderoth, tenor JL Paul Bentley-Angell, tenor PB Jakob Bloch Jespersen, bass JB Steffen Bruun, bass SB Fredrik From, violin Jesenka Balic Zunic, violin Kanerva Juutilainen, viola Judith-Maria Blomsterberg, cello Mattias Frostenson, violone Jane Gower, bassoon Allan Rasmussen, organ Dacapo is supported by the Cover: Fresco from Elmelunde Church, Møn, Denmark. The Twelfth Night scene, painted by the Elmelunde Master around 1500. The Wise Men presenting gifts to the infant Jesus.. THE ANNUNCIATION & ADVENT THE NATIVITY Heinrich Scheidemann (c. 1595–1663) – Preambulum in F major ������������1:25 Dietrich Buxtehude – Das neugeborne Kindelein ������������������������������������6:24 organ solo (chamber organ) ET, MC, PB, JB | violins, viola, bassoon, violone and organ Christian Geist (c. 1640–1711) – Wie schön leuchtet der Morgenstern ������5:35 Franz Tunder (1614–1667) – Ein kleines Kindelein ��������������������������������������4:09 ET | violins, cello and organ KB | violins, viola, cello, violone and organ Johann Christoph Bach (1642–1703) – Merk auf, mein Herz. 10:07 Dietrich Buxtehude – In dulci jubilo ����������������������������������������������������������5:50 ET, MC, JL, JB (Coro I) ET, MC, JB | violins, cello and organ KB, KM, PB, SB (Coro II) | cello, bassoon, violone and organ Heinrich Scheidemann – Preambulum in D minor. .3:38 Dietrich Buxtehude (c. 1637-1707) – Nun komm der Heiden Heiland. .1:53 organ solo (chamber organ) organ solo (main organ) NEW YEAR, EPIPHANY & ANNUNCIATION THE SHEPHERDS Dietrich Buxtehude – Jesu dulcis memoria ����������������������������������������������8:27 Dietrich Buxtehude – Fürchtet euch nicht. -
Breathtaking-Program-Notes
PROGRAM NOTES In the 16th and 17th centuries, the cornetto was fabled for its remarkable ability to imitate the human voice. This concert is a celebration of the affinity of the cornetto and the human voice—an exploration of how they combine, converse, and complement each other, whether responding in the manner of a dialogue, or entwining as two equal partners in a musical texture. The cornetto’s bright timbre, its agility, expressive range, dynamic flexibility, and its affinity for crisp articulation seem to mimic a player speaking through his instrument. Our program, which puts voice and cornetto center stage, is called “breathtaking” because both of them make music with the breath, and because we hope the uncanny imitation will take the listener’s breath away. The Bolognese organist Maurizio Cazzati was an important, though controversial and sometimes polemical, figure in the musical life of his city. When he was appointed to the post of maestro di cappella at the basilica of San Petronio in the 1650s, he undertook a sweeping and brutal reform of the chapel, firing en masse all of the cornettists and trombonists, many of whom had given thirty or forty years of faithful service, and replacing them with violinists and cellists. He was able, however, to attract excellent singers as well as string players to the basilica. His Regina coeli, from a collection of Marian antiphons published in 1667, alternates arioso-like sections with expressive accompanied recitatives, and demonstrates a virtuosity of vocal writing that is nearly instrumental in character. We could almost say that the imitation of the voice by the cornetto and the violin alternates with an imitation of instruments by the voice. -
Johann Kaspar Kerll Missa Non Sine Quare
Johann Kaspar Kerll Missa non sine quare La Risonanza Fabio Bonizzoni La Risonanza Elisa Franzetti soprano Emanuele Bianchi countertenor Mario Cecchetti tenor Sergio Foresti bass Carla Marotta, David Plantier violin Peter Birner cornett Olaf Reimers violoncello Giorgio Sanvito violone Ivan Pelà theorbo Fabio Bonizzoni organ & direction Recording: May 1999, Chiesa di San Lorenzo, Laino (Italy) Recording producer: Sigrid Lee & Roberto Meo Booklet editor & layout: Joachim Berenbold Artist photo (p 2): Marco Borggreve Translations: Peter Weber (deutsch), Sigrid Lee (English), Nina Bernfeld (français) π 1999 © 2021 note 1 music gmbh Johann Kaspar Kerll (1627-1693) Missa non sine quare 1 Introitus Cibavit eos (gregorian) 1:03 2 Kyrie, Christe, Kyrie * 3:31 3 Gloria * 4:49 4 Graduale Sonata in F major for two violins & b.c. 6:32 5 Credo * 7:15 6 Offertorium Plaudentes Virgini for soprano, alto, tenor, bass & b.c. 3:45 7 Sanctus et Benedictus * 4:17 8 Agnus Dei * 2:18 9 Communio Ama cor meum for alto, tenor, two violins & b.c. 7:25 10 Dignare me for soprano, alto, bass & b.c. 2:34 11 Post Communio Sonata in G minor for two violins, bass & b.c. 7:13 12 Deo Gratias Regina caeli laetare 2:31 * from Missa non sine quare English English cent coronation of the new Austrian Emperor various instruments (violins, violas, trombones) incomplete copy (only 10 of 19 parts remain- Leopold in Frankfurt, in the summer of 1658, and continuo. This type of concerted mass was ing) belongs to the Bayerische Staatsbibliothek Johann Kaspar Kerll Kerll composed a mass and was invited to play widely used for important liturgical occasions in of Munich along with a manuscript score (a the organ during the ceremony. -
The Sophies of Hanover and Royal Prussian Music Abstract
Kulturgeschichte Preuûens - Colloquien 6 (2018) Ellen Exner The Sophies of Hanover and Royal Prussian Music Abstract: The history of royal Prussian music was shaped not only by its kings, but also by its queens. Although there were famously patterns of crisis and prosperity in the kingdom©s eighteenth-century history, strands of continuity provided by Prussia©s early Hanoverian queens often go unobserved and therefore undescribed. The first Prussian queen, Sophie Charlotte of Hanover, set a precedent for sophisticated music cultivation, which is apparent in Corelli©s dedication to her of the Op. 5 violin sonatasÐa collection of chamber pieces. Her legacyÐand that of her homeland, HanoverÐlived on through the private efforts of her daughter-in-law and successor, Sophie Dorothea, whose own legacy is evident in the musical activities of her children. <1> Kings are unquestionably important in the histories of kingdoms but queens also had roles to play in creating a reign©s culture. Early in Prussia©s royal history, two of its queens were the real forces behind music cultivation within the ruling family. Queens Sophie Charlotte (r. 1701 to 1705) and Sophie Dorothea (r. 1713 to 1740) both came originally to Prussia from Hanover and shared more than just their bloodline with the Prussian royal family: they also infused it with a discerning passion for music. Prussia©s first queen, Sophie Charlotte, achieved a very high standard of elite music making, setting an impressive precedent for the royal family. Memory of her musicianship remained alive in her descendants, female as well as male. When Sophie Charlotte©s own son, King Friedrich Wilhelm I (r. -
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Johann Jacob Froberger (1616–1667) Complete Fantasias and Canzonas 6 Fantasias Libro Secondo (1649) 1 Fantasia I sopra∙VT∙RE∙MI∙FA∙SOL∙LA FbWV 2018:08 2 Fantasia II FbWV 202 3:49 3 Fantasia III FbWV 203 4:29 4 Fantasia IV sopra Sollare FbWV 204 3:40 5 Fantasia V FbWV 205 3:08 6 Fantasia VI FbWV 206 4:31 7 Fantasia FbWV 207 4:47 8 Fantaisie.Duo FbWV 208 2:31 6 Canzonas Libro Secondo (1649) 9 Canzon I FbWV 301 6:39 10 Canzon II FbWV 302 4:55 11 Canzon III FbWV 303 3:27 12 Canzon IV FbWV 304 5:54 13 Canzon V FbWV 305 2:34 14 Canzon VI FbWV 306 3:29 total duration 62:04 Terence Charlston, clavichord first recording on clavichord Froberger : Complete Fantasias and Canzonas This unusual recording project marks the happy confluence of idea and opportunity. Froberger’s fantasias and canzonas are amongst his most beautifully crafted yet most neglected works. They survive together with toccatas and partitas in a meticulously written autograph manuscript, the Libro Secondo, dated 19 September 1649 (A-Wn Mus.Hs.18706). They have been selectively performed and recorded in recent times on organ and harpsichord, but hardly at all on the clavichord. A recording on clavichord was clearly needed but until recently I had not come across an instrument which I felt was equal to the task. Then, in 2018, quite by chance, I discovered the clavichord used in these performances. It is a reconstruction of a south German clavichord now in the Berlin Musical Instrument Museum (hereafter referred to by the catalogue number of the original, MIM 2160) and was made by Andreas Hermert in 2009. -
Giovanni Valentini Secondo Libro De Madrigali a 4, 5, 8, 9, 10, & 11, Concertati Con Voci, Et Istromenti, (Venice, 1616)
GIOVANNI VALENTINI SECONDO LIBRO DE MADRIGALI A 4, 5, 8, 9, 10, & 11, CONCERTATI CON VOCI, ET ISTROMENTI, (VENICE, 1616) Edited by Pyrros Bamichas University of Athens Italian translations by Cinzia Scafetta German translations by Joachim Steinheuer and Ursula Herrmann English translations by John Whenham ! ii! www.ascima.bham.ac.uk EDITORIAL BOARD John Whenham (Birmingham) Silke Leopold (Heidelberg) Joachim Steinheuer (Heidelberg) Andrea Bornstein (Rome) The edition and translations are copyright ©2012 the editor, translators, The University of Birmingham and The University of Heidelberg. They may be freely downloaded for study or performance (including commercial recordings) provided that the edition and translations are properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder(s). L’edizione e le traduzioni sono di proprietà del curatore, dei traduttori, e delle università di Birmingham e di Heidelberg. Il materiale può essere liberamente scaricato sia per motivi di studio sia per essere eseguito (comprese registrazioni commerciali), a patto che gli estremi dell’edizione e delle traduzioni siano debitamente citati. Qualsiasi altro uso e/o riproduzione in qualsiasi formato è espressamente proibito senza il permesso dei detentori dei diritti summenzionati. Das Copyright für die Edition und die Übersetzungen liegt beim Herausgeber, bei den Übersetzern sowie bei den Universitäten Birmingham und Heidelberg. Das Material kann zu Studienzwecken oder für Aufführungen (einschließlich kommerzieller Einspielungen) unentgeltlich heruntergeladen und verwendet werden, vorausgesetzt, dass dabei in allen Fällen Herkunft und Herausgeber der Editionen bzw. der Übersetzungen in angemessener Weise benannt und kenntlich gemacht werden. Eine Weiterverbreitung und/oder Reproduktion in jeglicher Form ohne vorherige Zustimmung durch den/die Rechtsinhaber ist untersagt. -
Schwemmer,H. Deus in Nomine a 12 P+St
UUB vmhs035,002 Deus in nomine tuo salvum me fac a 12 Heinrich Schwemmer 1621-1696 Dübensammlung 5 voci: 2 viol: 2 Corn è 3 Trombone di Heinrico Schwemmer Canto primo C1 & C „ „ Canto 2do C1 & C „ „ Alto C3 V C „ „ Tenore C4 V C „ „ Basso C4 ? C „ „ Violino primo G2 & C „ „ Violino 2do G2 & C „ „ Sonata œ œ œ œ œ Cornetto 1 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ G2 & C ‰ J ‰ J Cornetto 2 œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ G2 & C œ œ œ ‰ J J ‰ J œ #œ Trom 1 œ œ œ œ œ œ œ œ œ. œ œ. œ ˙ #˙ C3 V C ‰ J #œ ‰ J J J Tromb:2 j . j C4 C ‰ œ œ ‰ œ œ. œ bœ V œ œ œ œ J œ J J œ. œ œ ˙ Tromb. 3. j j j œ œ F4 ? C œ œ ‰ ‰ j œ. œ ˙ #œ nœ bœ. œ œ œ œ. œ J ? œ œ œ C œ #œ œ nœ b˙ œ ˙ œ. J ˙ Heinrich Schwemmer (28 March 1621 – 31 May 1696) was a German musicœ teacher and composer. He was born in Gumpertshausen bei Hallburg, Lower Franconia, and moved with his mother to Weimar after his father’s death in 1627, to get away from the Thirty Years War. After his mother's death in 1638, he moved to Coburg, then in 1641 to Nuremberg, when he remained for the rest of his life. -
Music and Science from Leonardo to Galileo International Conference 13-15 November 2020 Organized by Centro Studi Opera Omnia Luigi Boccherini, Lucca
MUSIC AND SCIENCE FROM LEONARDO TO GALILEO International Conference 13-15 November 2020 Organized by Centro Studi Opera Omnia Luigi Boccherini, Lucca Keynote Speakers: VICTOR COELHO (Boston University) RUDOLF RASCH (Utrecht University) The present conference has been made possibile with the friendly support of the CENTRO STUDI OPERA OMNIA LUIGI BOCCHERINI www.luigiboccherini.org INTERNATIONAL CONFERENCE MUSIC AND SCIENCE FROM LEONARDO TO GALILEO Organized by Centro Studi Opera Omnia Luigi Boccherini, Lucca Virtual conference 13-15 November 2020 Programme Committee: VICTOR COELHO (Boston University) ROBERTO ILLIANO (Centro Studi Opera Omnia Luigi Boccherini) FULVIA MORABITO (Centro Studi Opera Omnia Luigi Boccherini) RUDOLF RASCH (Utrecht University) MASSIMILIANO SALA (Centro Studi Opera Omnia Luigi Boccherini) ef Keynote Speakers: VICTOR COELHO (Boston University) RUDOLF RASCH (Utrecht University) FRIDAY 13 NOVEMBER 14.45-15.00 Opening • FULVIA MORABITO (Centro Studi Opera Omnia Luigi Boccherini) 15.00-16.00 Keynote Speaker 1: • VICTOR COELHO (Boston University), In the Name of the Father: Vincenzo Galilei as Historian and Critic ef 16.15-18.15 The Galileo Family (Chair: Victor Coelho, Boston University) • ADAM FIX (University of Minnesota), «Esperienza», Teacher of All Things: Vincenzo Galilei’s Music as Artisanal Epistemology • ROBERTA VIDIC (Hochschule für Musik und Theater Hamburg), Galilei and the ‘Radicalization’ of the Italian and German Music Theory • DANIEL MARTÍN SÁEZ (Universidad Autónoma de Madrid), The Galileo Affair through -
SSCM - AHS Joint Meeting April 23-26, 2015 Iowa City
SSCM - AHS Joint Meeting April 23-26, 2015 Iowa City Abstracts Thursday Afternoon I. Plenary Session: Baroque Lives Roger Freitas (Eastman School of Music), Chair Supereminet omnes: New Light on the Life and Career of Vittoria Tarquini Beth Glixon (University of Kentucky) Vittoria Tarquini is known especially among Handel enthusiasts as the composer’s would-be paramour during his time in Florence in 1708; indeed, her relationship with Handel has taken on even greater significance over the last few decades as questions regarding the composer’s sexuality have been raised. The singer also occupies a niche in a particular corner of Florentine history as the supposed mistress of Grand Prince Ferdinando de’ Medici. Using newly discovered archival and visual material as well as a wide range of secondary sources, my paper traces Tarquini’s life and operatic career in Italy and Germany before looking at her years of retirement in Venice, where she died in 1746. Tarquini’s performance at Venice’s famed Teatro S. Giovanni Grisostomo in 1688 put her under the influence of the powerful Grimani family, and through Vincenzo Grimani she made the acquaintance of Prince Ferdinando, who would become her patron and employer ten years later. Rather than continuing her career in Venice, she moved to Hanover later in 1688, and soon married the French concertmaster Jean-Baptiste Farinel. She subsequently spent a number of years singing in Naples, where she was a favorite of the Viceroy, the Duke of Medinaceli. While there she sang in various works of Alessandro Scarlatti, and premiered the title role in Il trionfo di Camilla, which became one of the most popular operas of the eighteenth century. -
Harald Vogel
Westfield Center & Christ Church Cathedral present Harald Vogel Johann Caspar Kerll (1627-1693) Toccata per li Pedali Canzon in d Bataglia Capriccio Cucu Johann Pachelbel (1653-1706) Praeludium in d Toccata in e Georg Böhm (1661-1733) Ach wie nichtig, ach wie flüchtig Partita 1 Grand Plein-Jeu Partita 2 Dessus de Cromorne Partita 3 Dessus de Nazard Partita 4 Basse de Trompette Partita 5 Trio Partita 6 Voix humaine Partita 7 Grand-Jeux (dialogue) Partita 8 Flutes Partita 9 Petit Plein-Jeu Johann Kuhnau (1660-1722) Toccata in A-Dur Sauls Traurigkeit und Unsinnigkeit (Saul’s Sadness and Craziness) La tristezza ed il furore del Rè -aus der zweiten Biblischen Sonate: Der von David vermittelst der Music curierte Saul Saul malincolico e trastullato per mezzo della Musica Mr. Vogel’s appearance is sponsored by Loft Recordings J.S. Bach Praeludium in g minor (BWV 535a) O Lamm Gottes unschuldig (BWV 656), from the Leipzig chorales 3 Verses Praeludium und Fuge in D-Dur (BWV 532) Praeludium - Erde (earth) Fuge - Wasser (water) _____ The Central/Southern European influences on J.S. Bach are focused strongly on the style of Johann Pachelbel and his school. The elder brother, Johann Christoph Bach, who gave the 10 year old Johann Sebastian a new home in Ohrdruf (Thuringia) after the death of their parents, was a student of Pachelbel. Pachelbel was a good friend of Johann Ambrosius, the father of Johann Sebastian. The early works of Johann Sebastian strongly show the Pachelbel models in figuration (“der figurirte Stil”) and counterpoint. The organ works of Johann Pachelbel show the influence of Johann Caspar Kerll, who studied in Rome and where he acquired the new expressive organ style of Frescobaldi and his followers. -
Keyboard Music Is
Seventeenth-Century Keyboard Music in Dutch- and German-Speaking Europe David Schulenberg (2004, updated 2021) Keyboard music is central to our understanding of the Baroque, particularly in northern Europe, whose great church organs were among the technological and artistic wonders of the age. This essay treats of the distinctive traditions of keyboard music in Germany, Austria, and the Netherlands before the time of Johann Sebastian Bach and other eighteenth-century musicians. Baroque keyboard music followed in a continuous tradition that of the sixteenth century, when for the first time major composers such as William Byrd (1543–1623) in England and Andrea Gabrieli (ca. 1510–1586) in Italy had created repertories of original keyboard music equal in stature to their contributions in other genres. Such compositions joined improvised music and arrangements of vocal and instrumental works as the foundations of keyboard players' repertories. Nevertheless, the actual practice of keyboard players during the Baroque continued to comprise much improvisation. Keyboard players routinely accompanied other musicians, providing what is called the basso continuo through the improvised realization of a figured bass.1 On the relatively rare occasions when solo keyboard music was heard in public, it often took the form of improvised preludes and fantasias, as in church services and the occasional public organ recital. Hence, much of the Baroque repertory of written compositions for solo keyboard instruments consists of idealized improvisations. The capacity of keyboard instruments for self-sufficient polyphonic playing also made them uniquely suited for the teaching and study of composition. Thus a second large category of seventeenth-century keyboard music comprises models for good composition, especially in learned, if somewhat archaic, styles of counterpoint. -
Baroque and Classical Style in Selected Organ Works of The
BAROQUE AND CLASSICAL STYLE IN SELECTED ORGAN WORKS OF THE BACHSCHULE by DEAN B. McINTYRE, B.A., M.M. A DISSERTATION IN FINE ARTS Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Chairperson of the Committee Accepted Dearri of the Graduate jSchool December, 1998 © Copyright 1998 Dean B. Mclntyre ACKNOWLEDGMENTS I am grateful for the general guidance and specific suggestions offered by members of my dissertation advisory committee: Dr. Paul Cutter and Dr. Thomas Hughes (Music), Dr. John Stinespring (Art), and Dr. Daniel Nathan (Philosophy). Each offered assistance and insight from his own specific area as well as the general field of Fine Arts. I offer special thanks and appreciation to my committee chairperson Dr. Wayne Hobbs (Music), whose oversight and direction were invaluable. I must also acknowledge those individuals and publishers who have granted permission to include copyrighted musical materials in whole or in part: Concordia Publishing House, Lorenz Corporation, C. F. Peters Corporation, Oliver Ditson/Theodore Presser Company, Oxford University Press, Breitkopf & Hartel, and Dr. David Mulbury of the University of Cincinnati. A final offering of thanks goes to my wife, Karen, and our daughter, Noelle. Their unfailing patience and understanding were equalled by their continual spirit of encouragement. 11 TABLE OF CONTENTS ACKNOWLEDGMENTS ii ABSTRACT ix LIST OF TABLES xi LIST OF FIGURES xii LIST OF MUSICAL EXAMPLES xiii LIST OF ABBREVIATIONS xvi CHAPTER I. INTRODUCTION 1 11. BAROQUE STYLE 12 Greneral Style Characteristics of the Late Baroque 13 Melody 15 Harmony 15 Rhythm 16 Form 17 Texture 18 Dynamics 19 J.